I decided to sketch some of the profiles of the timbers. Looking at them closely they are much more rugged and covered in seaweed than I have remembered. I sketched groupings, in elevation, similar to the group below, concentrating on their outline and the space between them.

OgFLz8EVShS46Zt+EBA60g.jpg

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sketch long profilegroup of 3

then played with one of the profiles in Photoshop CC2019 mirroring and reflecting

double with gap profileprofile2reflections profile 1

I’m wondering how I can resolve or emphasis the space between the profiles, as the Japanese call it the Ma, that evoke the knarled shards of weathered wood, the reflections, the between space, liminality.  Resolve in a ceramic work that has a deliberation and crafting in the facture. I don’t want to create a series of posts that directly interpret the timber of the ponds, but abstract the profile and spaces between. The essence that I’ve been writing about: Sjusamillabakka (Shetland) meaning between the sea and the shore, ie the shifting space between high and low tide, neither quite water nor land. Metaphorically therefore a threshold or border realm.

I’ve been thinking about how to interpret the surfacing of the ceramics, again in an abstraction rather than layering on a thick, rough surface, as I might want to experiment with incorporating text and screen printing.  To this end my initial thoughts are to slip cast in parian, to make a smooth, luminous surface onto which I can print. Or perhaps layer a different clay to crawl off the smooth surface and crack. If I slip cast the work I can experiment in different clay and treatments.

An initial thought is to trace or just sketch some of the profiles, as I’ve started to do, but to use these profiles as an edge of a geometric shape, such as sketched (badly) below, where one edge would be the profile and the other 3 the solid block. The shape could be laser cut acrylic, built up in layers like an extrusion of the shape, so I could make a plaster mould for slip casting. The blocks would face each other in pairs forming negative space between them, in a row moving into perspective. An enclosure of space rather than water. I was thinking of incorporating a little pool of water on the top surface and using mirrored plinths to play with reflection.

The sketch below looks like the block wouldn’t stand up, but if we apply the rules of cantilever to it, it would need to be 1/3 cantilevered 2/3 to make it stand up, also many of the posts are wider at the bottom than the top.

sketch block.jpg

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